Adam. J. Murray writes dark sub-culture novels that search for the god within and the road of pain travelled to reach it.

Background
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Adam. J. Murray is in search of the written word.

The true written form of communication between his species. Preferring the snarls and howls within to the continual inundation of dull-eyed soft-pornographic corporate/government funded communication for profit.
He is seeking our quiet communication.
Adam strives to write from the core, a place where the evolved link that holds our place in the animal kingdom resides, a place he cynically and fondly calls Super-Chimp, referring to our closest link, the violent and sexual ape, far evolved but from what, yesterdays monkey or tomorrows Neanderthal?

To do this he employs old world shamanistic methods of ritualistic sex, intoxication, self-tattooing, occultism, hallucinogens and bloodletting combined with cryptozoology, etymology, paranormal investigation, anthropology and entomology.

He uses intoxicants to chip away at the layers that society and civilized man demands he holds to operate within its complicated barter system to expose his rawest and most primitive thoughts, communicating with the species of humanity rather than race or culture.

He has been widely published online, in anthologies and magazines and is in print on the global marketplace.

Adam is inspired by Miller, Thompson, Selby Jr, Bukowski, Benderson, Keroauc, Fante (Dan), Ridley in print and by Waits, Rollins, Manson, Callas and Chopin in music. He prays to William. S. Burroughs' Naked Lunch and uses his vintage typewriter as a sacrificial alter that much blood has been spilt on as it echoes through the night with the sound of machine gun fire peppering urban complacency, greed, mediocrity and conformity with irregular blasts.

His other consuming passions are anchovies, entomology and the jungle where he hopes one day to disappear into forever.

His first novel Kneeling Before Autumn deals with the re-emergence of the forgotten and neglected fifth element, electricity, into the pentagram and the concept of allowing the flower of inner godhood to bloom while ceasing to pollute the seed of our species, our children.

His second novel Lush is a whirlwind snapshot of 3 months in a new city and the methods undertaken to survive his most severe illumination to the illusion of love, using everything available to numb the terror of the consequences of breaking the heart of innocence. Autobiographical but stretched by elaboration, all the situations he finds himself in are brutally real. A journal of truth and hellfire.

He has spent the last 5 years documenting his dreams, the most primitive and shamanistic vision channeling, drawing from them to throw fuel on the fire of his writing.

For the last 3 years he has been reworking his first manuscript Geno-Mach (The Genocide Machine) into the novel Pollution, an expose and nightmare expedition to the heart of our species and a survival guide for conglomerates of where not to take us less we sink to a lost civilization to join Atlantis.

Adam also has an anthology of poetry in print, The Etiquette Of Vice, which he considers more a tally etched in the wall of life for the days he felt beaten, dead of inappropriately elated to mark the transition of a man into a writer. A strange and complicated beast equally stricken and intoxicated by continual inner commentary, the documentation of life and the vices it uses to prevent insanity or worse in the repetitive circular pacing of a cage that seeks to reject it.

Adam writes to challenge the reader, antagonistic and thought provoking, a call to action and idea rather than the mind-numbing entertainment to pass time that rises up around us. He openly embraces taboo subject material, exposing it as it truly is, life, despite the complexity that modernism places upon it.

The thoughts and feelings he hopes to provoke in his readership are real emotions, whether it be disgust, revulsion, anger or elation, raw feelings and animal emotions. The reader who experiences his work with a bored banality also experiences the world this way as Adam's pieces draw directly from the true environment around us that we have pasted over with flashy posters advertising ourselves as civilized.

Adam believes that Art through fiction delivers the truth in cotton wool for those too delicate to accept its wide awake velocity. There is no fiction, only circumstances and ability that have been so far forgotten as to be disbelieved.